"Web
Update" is the original update for "Hilary Page's
Guide to Watercolor Paints" published by Watson-Guptill
publications. It covers the paints that have been either
upgraded or introduced since the Guide was first
published in 1997. Please scroll through the material
for your personal use. Commercial use or reprinting of
the material is prohibited without prior permission.

To the 1,600 paints tested
(of which some 1,400 were featured) I have now tested an additional 1000
paints. These additional paints are the subject of "WEB Update
" (below) and "update lists' (available via email). Unlike the book, "Hilary Page’s Guide to
Watercolor Paints" that shows a detailed visual sample for each of
the 1,400 or so paints, "WEB Update" here shows just one
representative, handling sample from each brand. I have, however, tested the
additional paints using methods identical to
those described in the Guide
though in the web update shown here, I only give detailed descriptions
of individual paints when they are exceptional for either positive or
negative reasons. Unfortunately, the "exceptional" often dwells
on the individual problem paints whereas, as was shown in my Guide,
most paints now on the market are perfectly acceptable. The colors are
reproduced to match the original as nearly as possible. The "update
lists", available by email, are comprehensive and cover information on
all the paints tested since my Guide was published.

PAINT
IDENTIFICATION:
The paints in this update are identified, first by the manufacturer's
code number if designated, next by the name picked by the manufacturer,
and finally by the internationally recognized Color Index Name(s),
displayed on every new tube or pan paint though you may need a
magnifying glass to see them! The CI name identifies the pigment(s)
used such as PB28 (Pigment Blue 28: Cobalt Blue). The early pigments of
each color that were numbered a long time ago have lower numbers and
the most recently introduced ones have the higher numbers. The CI name
is the only accurate way of distinguishing one paint from another for
comparison.

PAINT
TESTING:
The lightfastness and handling tests were done on Arches
140lbs cold pressed paper. The lightfastness samples were
divided into two. One half of each was stored between
acid free paper in a drawer and the other half was
exposed to sunlight. The samples were displayed under
identical conditions and the Blue Wool strips
[BELOW] that fade progressively, were used to measure the
amount of sunlight to which all the samples were
exposed to ensure uniformity. You will notice that the
seventh band is just starting to fade indicating that the
samples have been exposed to a great deal of sunlight-
the equivalent of a few hundred years had they been
exposed to indirect light and protected by glass in a
home.

PAINT
SAMPLES:Each representative handling sample such as MaimeriBlu's 391
Ultramarine Light [BELOW] is divided into two. The left portion shows a
graded wash ranging from full strength to tint. The wash covers a pencil
line to show relative transparency. There is also a lift off portion
where the wash is re-wetted after it has dried and then the paint wiped
off with a tissue. The right hand portion shows how the paint behaves in
a wet on wet application.

The old line
has been re-introduced as the MaimeriBlu brand. The
paints contain excellent lightfast pigments that give
quite a wide range of beautiful, vibrant colors. The
paints are ground to be uniformly smooth, even the
inorganic ones such as 391 Ultramarine Light PB29.

There's little texture in this
range! Many of the paints, especially the
synthetic organic ones sink into the paper and
will not lift off when re-wetted and wiped off
with a tissue. When applied wet on wet they form
inward moving watermarks with some of the pigment
shooting across the water surface.

391
Ultramarine Light PB29

A paint in the MaimeriBlu range that I particularly like is 114 Permanent Yellow Deep PY139.
This is a new synthetic organic isoindoline pigment and at present is
unique to MaimeriBlu and Daniel Smith's Isoindoline Yellow. It is an excellent match for
Cadmium Yellow Deep PY35 but without the cadmium’s toxicity.

114 Permanent Yellow Deep PY139

084 Cadmium Yellow Deep PY35

112 Permanent Yellow Lemon PY175 (the
same pigment as Winsor Lemon) is another favorite since
it is the perfect substitute for Aureolin which is
impermanent (see below). I also like 460 Mineral
Violet PV16 (manganese) and 440 Ultramarine Violet
440 (PV16) because the colors are attractive. Note
that the paint 374 Cobalt Blue Deep PB28 is made
with the same pigment as in 373 Cobalt Blue Light PB28.
The Cobalt Blue Deep PB73 pigment is not used in this
range.

A paint that I would avoid is
[RIGHT] 082 Cadmium Lemon PY35
(MaimeriBlu). This paint turned dull and greenish
when applied in mass tone, as shown.

The
paints contain good, lightfast pigments that give
clear colors and for the most part, apply
smoothly. Although the tubes are the same size,
the pigment concentration is much weaker in mass
tone than the MaimeriBlu range; and there are
more "mixed" colors and less single
pigment paints included; but this is what you
would expect for a 2nd range. They're cheaper
too!

Venezia:174 Crimson Lake PR254,PR206

One Venezia paint of note
is

062
Permanent Orange PO36,a
benzimidazolone, which is a very lightfast red-orange.

Unfortunately my particular sample
was rather gritty and weak. This pigment is
usually fine and is just starting to appear in
paints.

062 Permanent Orange PO36

MaimeriBlu's 125 Orange Lake PO43 (perinone)
[RIGHT] tends to darken and is not nearly so lightfast as
Venezia's Permanent Orange PO36 shown above. Here is an
instance where the pigment in the 2nd range of
paints is superior.

125 Orange Lake PO43 (perinone)

There are a couple of
paints to be wary of: 174 Crimson Lake
PR254,PR206 [ABOVE] is not crimson at all (despite the crimson
color on the tube). Rather, it is a combination of Pyrrole red PR254 and
Brown Madder Quinacridone PR206 and so it is a slightly dull yellow-biased
red.

Venezia’s
416 Cerulean blue has a misleading name. Not in compliance with the
ASTM labeling requirements, the name gives no indication that it is not
made with the expensive pigment usually associated with
"Cerulean" (oxides of cobalt and tin). Instead it is made with
the much cheaper and less evocative pigment, phthalocyanine blue red
shade PB15:1 with white added to make it appear like genuine Cerulean. I
should add that the tube does show the pigments included but the
majority of buyers do not check this. Here's a reason to start checking
now!

Holbein
5ml & 15ml tubes: 24 new paintsThe new paints extend
the watercolor line to a total of 108. All Holbein paints are extremely
well made. They handle superbly and the unique character of each
individual pigment such as textural or smooth is beautifully preserved. 48
Antique Irodori paints
covered in LISTS

Holbein: Cherry Red

Cherry
Red is made with the same pigment as Winsor &
Newton's Quinacridone Red PR209 and Daniel
Smith's Quinacridone Coral PR209. You might be
interested to know that Daniel Smith's
Quinacridone Red is actually PV19, a different
color! You can see how confusing paint names are.
That's why you need to identify paints by the
Color Index Name referred to earlier.

PR209
Cherry Red PR209

The newest Holbein paints also include an
iridescent Silver and Gold (interference
colors) and some "mixed" pastel colors as well
as the latest new pigment colors- Rose Violet PR122
(the same as Winsor & Newton's Quinacridone Magenta
PR122 and Bamboo Green PG36 (Winsor-Phthalocyanine
green yellow shade) and a Permanent Alizarin Crimson.
They are very good. You can check the colors of these
pigments in the Guide.

Holbein: Marine Blue PB16
[RIGHT] is another beautiful color. The pigment
is metal free phthalocyanine. It is also used in
paints in the MaimeriBlu, Schmincke and Old
Holland brands

Marine Blue PB16

A Holbein paint I particularly like
is [RIGHT] Brilliant Orange PO73, PO62, a
Pyrrole orange and a Benzimidazalone orange. It
is similar to Perinone Orange- very slightly less
red but it is much more lightfast. Saturated
(pure), lightfast red-oranges are hard to find.

Brilliant Orange PO73, PO62

Shadow Green PBk31 [RIGHT] is
a perylene pigment that is unique to Holbein and
could be useful if you want a ready made uniform
neutral shadow color.

Shadow Green PBk31

Holbein’s beautiful,
luminous Bright Rose and Bright
Violet are fugitive and clearly marked as such.
They should be avoided unless for short-term display.
Another more serious caveat: the following four paints in the
established-not the new ones- line are not marked as fugitive,
but according to my tests they have inferior lightfastness when
compared to other paints on the market. These are Crimson Lake PR83,
Carmine PR83, Scarlet Lake PR48 and Permanent Rose PR60. Note also
that this "Permanent Rose" is not a Quinacridone paint. I
mention these out of frustration really, because otherwise Holbein
paints are so superior and handle so superbly.

In large 37ml tubes, Cheap Joe’s American Journey
line offers 51 paints made with lightfast pigments.
These paints have a uniform, smooth consistency
and they handle OK as shown in the sample though generally
they are a little pasty at full strength and act as if they
contain a lot of extender. The number of
subtle-colored, individual pigments used in the range is not
extensive. I class the range as good quality student paints.

American Journey's
Brown
Madder Quinacridone PR101,PV19is
named as if it is just a pure quinacridone pigment PR206).

In fact it is made
with both "Indian Red" PR101, a relatively inexpensive red
iron oxide pigment and Permanent Rose (quinacridone)- another
relatively inexpensive pigment

Especially memorable are the names! Red
Hot Momma PR188, Fire Engine Red PR188,PV19 and Bumble
bee Yellow PY97 to name but a few! Several paints are named for the
artists’ who use them such as Andrews
Turquoise, Getz Grey and, of course, Joe’s (phthalo)
Blue PB15 and Joe’s (phthalo) Green PG7! However, I have
reservations about a few names. Brown
Madder Quinacridone PR101, PV19 for instance [ABOVE], is
named as if it is just a quinacridone pigment when in fact it is made
with both "Indian Red" PR101, a relatively inexpensive red
iron oxide pigment and Permanent Rose (quinacridone) PV19. The dark
mass tone color of Manganese BluePB33,PB15
(phthalo) indicates that the paint is mainly phthalo blue but this is
not evident from the paint name. I should add that the pigment content
is indeed clearly listed on the tube. However, the ASTM specifies that
after the paint name, the words "Hue" should be used if the
paint contains pigment substitution and "Mixed" if more than
one pigment is used from the generally understood pigment content
implied by the name.

An unexpected problem occurred with
American Journey's Cobalt Violet PV14.
[RIGHT] The usually permanent Cobalt Violet here
applied perfectly at first but discolors and
fades when exposed to light and sunlight.

Cobalt
Violet PV14.

Wild
Fuchsia (American Journey) is a beautiful, brilliant pink. That the
paint is fugitive is clearly marked on the tube and in the catalog.
Though a tad less lightfast, it is similar in color to Holbein’s
Opera.

Wild Fuchsia (American Journey)

Holbein'sOpera

Typically there is a problem with Aureolin. The good news
is that American Journey’s "Aureolin"
PY40, PY3 is a mixture of both Aureolin Cobalt Yellow PY40 and the
more stable and cheaper PY3 though this is not indicated in the paint
name. The bad news is that the paint contains enough Cobalt Yellow for
the pigment to react with the medium causing the tube to almost
explode! And it’s expensive too!

Here I will
digress a little to give you a general warning about Aureolin PY40 (Cobalt Yellow)
in ALL
brands. Despite the ASTM ‘s good recommendation (rated ASTM
II), my tests show, and manufacturers agree, that the pigment Aureolin PY40
turns BROWN and FADES even in a dry state.
The best substitute for Aureolin is PY175, as in Winsor Lemon PY175 (Winsor & Newton),
or in Permanent Yellow Lemon PY175 (MaimeriBlu),(Schmincke's) Chrome Yellow Lemon (no lead) PY175,(Cotman’s) Lemon Yellow Hue PY175
or Daniel Smith's Lemon Yellow PY175. PY175 is cheaper than Aureolin
too!

Note: a
few brands list an “Aureolin Hue”. Usually it is made with a
warmer, more orange-biased yellow, PY97 or PY151. These are not the best
substitutes. They do not match Aureolin PY40 so closely and so do not
work nearly so well for color mixing as does PY175
as in Winsor Lemon. The actual color of both Aureolin and PY175 is
a warm lemon that will mix with reds to produce
bright orange colors, and will mix with blues to produce fresh, vibrant greens.

Aureolin (cobalt yellow) PY40

Winsor Lemon PY175

Page 8

COTMAN-8ML
& 21ML: 17UPGRADED PAINTSWinsor & Newton's 2nd range. The paints handle well as shown in the sample
and they are reasonably priced. The less lightfast paints
of the original Cotman line have now been replaced with
permanent colors. As you would expect with
"bargain" priced paints the pigment content is
not as great as with the Winsor & Newton
"Artists' " but the color clarity is good. The
number of individual pigments used is not extensive and
more colors are achieved through mixtures than with
single pigments. But for a 2nd range paint line they are
good value for money. And if you are unable to find a
Winsor Lemon PY175 as an Aureolin substitute, then you
can use Cotman's 348 Lemon Yellow Hue. This is
also PY175!
The labeling is in compliance with the ASTM
labeling standards so each pigment used is listed, even
if in minute type! Any substitution of expensive pigments
for cheaper is indicated by the use of the word
"Hue" or "Mixed".

Cotman’s Cadmium Red Hue PR149, PR255
[RIGHT] is so named- with the word “Hue” at the end of it-
because the paint matches Cadmium Red but does not contain
expensive, toxic cadmium pigment.
The CI name “PR255” for the red pigment Pyrrole scarlet
was designated a few years before 1994 when the pigment first
appeared in artists’ paints

Cadmium Red Hue PR149 perylene red,
PR255 pyrrole scarlet

I recommend the Cotman's
Permanent Alizarin Crimson (a pyrrole and quinacridone
mix) [BELOW].Compared to the genuine
Alizarin Crimson PR83, it is indeed permanent.Both
have been exposed to the same amount of sunlight. My
sample of Rose Madder Hue (Cotman) was not
especially lightfast. This is surprising since it is
comprised of the same pigments as in Permanent Alizarin
Crimsonwhich as shown, tested out very well.

Alizarin Crimson PR83

Cotman's Permanent Alizarin Crimson

Rose Madder Hue

Page 9

ROWNEY
5ML,15ML: 80 PAINTS- 34 NEW & 19 IMPROVED.
For individual evaluations of the new Rowney paints email
Hilary Page for lists (see page 10).(Right)
The paint name has the word “Hue”
after the name to denote that it's not genuine
"Vermilion". It's much better! It is the practically
indestructible Pyrrole scarlet PR255! The color is beautiful,
and it handles well as shown in the sample. See LISTS

588 Vermilion Hue PR255 (pyrrole scarlet)

Page 9

DANIEL
SMITH:14+ NEW PAINTS: Green Gold PG10 has been replaced with Rich Green Gold PY129,
the same color as Winsor & Newton’s Green Gold! Phthalo
Blue red shade PB15:1 has been added as have some lovely new
natural earth colors. The color of two of the new colored iridescent paints are
fade somewhat (see lists- email me for them) The color fades but not the sparkle!

Page 9

page
8 APPENDIX

PAINT QUALITY: “Professional
Artists’” versus “2nd range , “Budget” Paints: NO STANDARDS! Here is a good place to discuss paint
quality because this update covers both a 1st range brand, MaimeriBlu,
and a 2nd range brand, Venezia, that are made by a single manufacturer,
Maimeri, and marketed in the same sized tubes.
The problem with quality is that
there are no recognized standards to define the
differences between so-called “Professional
Artists'" and so-called “Budget” , 2nd
Range” or “Student" quality paints!
The specific designation is left to the discretion of the manufacturers.
The ASTM (American Society for Testing and Materials) doesn’t help
consumers in this regard at all. All the manufacturers have to do to
comply is to follow a few minimum standards covering lightfastness,
general handling and labeling. Then they can advertise their paints as
“Artist” quality. Thus Maimeri could market both 1st and 2nd range
brands as “Artist” quality and still be in compliance with ASTM
standards.
The confusion is even more marked when a manufacturer
offers only one range of paints. To help you gauge for yourself whether
a particular range is 1st or 2nd quality, I have listed major
differences to help you identify 2nd range paints.1. They contain less pigment and more extender. Tube size does
not reflect pigment concentration.
2. They have fewer individual pigments and colors.
3. Many colors are achieved by physically combining pigments in
mixtures.
4. The practice of substituting cheaper pigments in place of some of the
expensive ones is common place. It should be noted that cheaper pigments
are not always inferior.
5. The paints often do not handle very well, especially in wet on wet
applications.
6. 2nd range paints are often advertised as “bargain” or “budget”
priced.
I must stress that there is a place for both
1st quality and 2nd range “bargain” paints. While I personally use
1st range paints because they have more subtle colors, superior color
clarity, handling and a higher concentration of pigment, I have seen
perfectly fine paintings produced with “budget” paints. You can also
be assured that these days, practically all paints are lightfast in both
1st and 2nd range paints. The choice is yours!

Page 10
How to obtain the
"LISTS" see below-

page
10 BE
INFORMED AND SAVE MONEY!

I
hope you find “Web Update” useful. Remember it is limited. I provide
comprehensive information in my GUIDE and the LISTS that accompany it. You will
be able to save yourself a great deal of
money by being well informed about the paints you buy, first because
you will avoid duplicating paints from varied brands that maybe are on an
instructor's supply list, and second because you will avoid buying bad paints.
My Guide will give you the information you need and easily pay for itself from
the money saved. It makes fascinating reading too! You can benefit from the more
than two years of non-stop work that it took me to assemble the materials, do
the tests and synthesize the information.

If you already own a copy of
the Guide then you can print out “Web Update” and store it,
together with the LISTS, within the covers of the book to complete your
paint-buying reference material! If you don’t own the Guide then let
me tell you about it. "Hilary Page's Guide
to Watercolor Paints"(Watson-Guptill) is the definitive buyers’ guide
to watercolor paints, comparing and contrasting their pigment content,
quality, lightfastness, mixing potential and handling characteristics,
with visual samples of nearly 1, 500 paints. The brands covered are: Winsor & Newton, Daniel
Smith, Schmincke, Fragonard Pebeo, Rowney, Rembrandt, Van Gogh, Old Holland, Sennelier, Grumbacher, Blockx,
M.Graham, Academy, Impellist Sakura, Da Vinci, Shiva,
Georgian, and Koi Sakura with some information on
Yarka, Pelican, Lukas, Pentel, Linel, and Niji. The Guide
also provides invaluable information on the PIGMENTS used in all
artists paints regardless of the medium. Pigment information includes
lightfastness ratings, chemical content toxicity, the latest ASTM
ratings, reflectance curves and a pigment compendium for easy reference.
The pigments described are referred to in the LISTS below. The
Guide also provides illustrated, historical and practical background on
paints, “Visual Complements” and "Convenience Lists" that
tabulate staining, textural, transparent, opaque and two-tone paints. It
ends with a complete manufacturer’s paint index!

LISTS OF NEW PAINTS,
PIGMENTS & HILARY PAGE RATINGS & COMMENTS

Complete lists of all the NEW Paints and Pigments
that have been introduced since the Guide was published WITH RATINGS and COMMENTS by Hilary Page are now
available. The brands covered are American
Journey, (Cheap Joe) 53 Paints, Cotman 17 Paints
upgraded from their line of 50 paints that are
valuated in the Guide, Holbein 24 new Paints (in
addition to the 80 paints rated in the Guide, Holbein's
48 Antique Irodori paints, MaimeriBlu 72 Paints, Rowney 80 Paints (includes
34 new and 19 improved Paints) , Susan Schwee
Watercolors 20 Paints, Utrecht 36 Paints, Venezia
36 Paints. M.Graham's reformulated paints (the other ones
are described in my Guide. a few, new Daniel Smith paints. It is
intended that you print off the lists and store them (and Update'00 ) within the covers of your
Guide to complete your paint reference
material.
If you do not own a copy of the 178 page
"Hilary Page's Guide to Watercolor
Paints", please see the ordering information
below. The money you will save on paints will easily
pay for this specially priced Guide because you
will avoid buying duplicate paints. Note commercial use or
reprinting of the material is prohibited without
prior permission.To
receive your complete Update Lists with
Hilary Page RATINGS and COMMENTS single click hilarypage@hilarypage.com. Include your name and complete snail
mail address

Hilary
Page's
GUIDE TO WATERCOLOR PAINTSTo purchase
a copy of the Guide, the special price from this
site is $21 plus $4.00 S&H
[$1.50 S&H each for each additional item]
Click here for an
OrderForm. (or just mail check)
(Texas residents add 8.25%, $ 1.73, sales tax)

It is my wish that both "WEB Update" and "Hilary Page's
Guide to Watercolor Paints" and the accompanying UPDATE LISTS will
make your paint purchasing easier, better informed and more enjoyable as
you buy the best paints possible to suit your particular style and
budget. Happy Painting! Hilary Page- November 2007

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